User manual BLUE MICROPHONES CACTUS

[. . . ] In short, this is a signal path of the highest possible quality, allowing the user to get the maximum benefit out of the multi-pattern capsule created by BLUE. Getting Started In order to get the most out of this, or any quality microphone, it is essential to pair it with a good microphone pre-amplifier. Most professional recordists prefer to have outboard preamps on hand, and will choose solid-state or vacuum tube models based on their unique characteristics. And, unlike many tube microphones, the Cactus can be run through a variety of tube preamps without excess coloration, noise, loss of detail or tube compression. To maintain the integrity of your signal, use the BLUE Kiwi mic cable between the 9610 power supply and the mic preamp. [. . . ] For more high end detail, move the Cactus farther from the guitar, either at the same neck position, or above the instrument up by the guitarist's head. An omnidirectional pattern setting allows very close placement to the soundhole without boomy lows, and distant placement of three feet or more can produce interesting results throughout the available range of pickup patterns. Recording Applications Vocals Here's a little-known secret -- vocalists love singing into unique and impressive mics. And in addition to its classic styling, the Cactus was developed especially to enhance the projection, air, and midrange detail in a voice, while diminishing the proximityinduced lows which can cloud a mix or produce compression artifacts. Put it in front of any singer and you are guaranteed to get a 110% inspired performance that sits perfectly in the mix with little or no additional equalization. For a "big" vocal sound with maximum presence, get the vocalist within one to three inches of the capsule. There is no need to worry about overloading the microphone, but be sure to use the W1 mesh pop filter to protect the diaphragm at close distances. Tilt the Cactus up (toward the forehead) for more projection and head tone, straight on at the mouth for maximum brightness and intelligibility, or down toward the chest for more robust lows and smoother highs. Conventional vocal recording is almost always done using a cardioid pickup pattern. But the variable pattern control on the 9610 power supply allows you to experiment with the timbre changes which occur in subcardioid (left of center on the pattern switch, towards omnidirectional) and supercardioid (right of center, towards figure of eight) settings. Whenever possible, set up the power supply in the control room, and spend a few moments exploring these tonal shifts while "tuning" the pickup patterns. The figure of eight pattern is useful for recording two singers on one mic, or for a "hotter" solo vocal with increased proximity effect (i. e. The omnidirectional pattern on the Cactus can also be put to unique effect, whether Electric Guitar The Cactus B7 capsule is useful for any clean amp sound, ranging from bright rhythm chords to warm jazzy tones. Angle the capsule toward the center of the speaker to capture more highs, or turn it toward the edge of the cone for a fuller sound with more low end. The tube circuitry and natural high end response of the Cactus is also excellent for overdriven and distorted amp tones. To add a little room sound and/or soften the extreme high end, move the mic towards the outer edge of the cone, or back it away from the amp a foot or more. For even more control over definition and room tone on electric guitar tracks, it is common practice to use an ambient room mic in addition to a close mic on the amp. The omnidirectional or figure of eight patterns on the Cactus are highly recommended for distant room miking applications on any amplified instruments, including bass, organ, and blues harmonica. Piano Pop and jazz piano recording is usually accomplished with a pair of microphones placed inside a grand piano, either close to the hammers for a defined, percussive sound, or roughly in the middle of the piano body to get a more resonant and blended tone. When using these methods, it is conventional to employ a coincident stereo pair, with one microphone capsule oriented to pick up the treble strings, and the other focused on the bass range of the instrument. A less common, though very useful technique, is to position a stereo pair or single Cactus microphone just outside of the piano, either in the curve of a grand, above an upright, or a few feet away for a classically-oriented sound with a significant amount of natural room reverberation. The variable pickup pattern control can be used to dial in the desired amount of ambience. Saxophones and Reeds The smooth high end response and large diaphragm warmth of the Cactus B7 capsule makes it an ideal candidate for miking saxophones and other reed instruments. For soprano sax, clarinet and related instruments, position the mic about a foot away, directly above and in front of the keys between the middle of the horn and the lowest pads. Capturing a mellow, rounded tone is a challenge with any brass instrument. [. . . ] In this case, the high voltage potential on the plate forcefully attracts electrons from the not yet heated cathode, a process is known as "cathode stripping". In practicality, this means that each time the power supply is switched on, the microphone tube changes its electrical properties. To put it simply, the tube begins to wear and gets noisier. *For those interested in detailed description how capacitors affect the audio circuitry, read the 1980 March & April AUDIO Magazine article by Walter G. Jung and Richard Marsh entitled, "PICKING CAPACITORS. " 9610 Metering A custom-built meter is provided to indicate the tube strength of the Cactus. In the upper position ("Heater") the tube filament can be monitored. [. . . ]